as you puppet - theatre for young audiences · they affect our sound system. photography, audio and...

ARTISTIC DIRECTORALLEN MACINNIS

MANAGING DIRECTORHUGH NEILSON

education partners

AS YOU PUPPETADAPTED AND PERFORMED BY

JANE MCCLELLAND AND MIKE PETERSENPRODUCED BY HANK’S TOYBOX THEATRE

STUDY GUIDESTUDIO APRIL 10–21, 2011

Study GuIde wRItten by KAREN gILODO, KAREN CHANdeSIGn And LAyout by JAN BORKOwSKI

SeASon deSIGn by KEYgORDON

As You Puppet Study Guide 2

TAbLE Of CONTENTS

GROUND RULES:As members of the audience, you play an important part in the success of a theatrical performance. Please review the following theatre rules with your students prior to your LKtyP visit.

• Food, drinks, candy and gum are not permitted in the theatre. • LKtyP is a nut-free zone. Many children have severe life-

threatening allergies; no PeAnutS or nut products may be brought to our theatre.

• no electronic devices are permitted in the theatre because they affect our sound system. Photography, audio and video recording during a performance is prohibited by the Canadian theatre Agreement.

• Students are not permitted to leave the theatre unless they are accompanied by an adult.

THEATRE IS A TwO-wAY ExCHANGE:Actors are thrilled when the audience is engaged and responsive. we want you to laugh, cheer, clap and really enjoy your time at the theatre. However, please be considerate audience members. talking, whispering and excessive movement during a live performance is distracting for the actors, and disruptive for other audience members.

enhance your visit by encouraging your students to look at different aspects of the production. before the show, identify tasks for your class. Have one group of students looking at the set, another listening for the music and sound effects, a third watching the lighting and a fourth, the costumes. Compare notes after the show about what they observed. your students will be more informed and they’ll be surprised by how much they noticed. Ask them to be prepared with one question for the actors after the show. brainstorm with them about possible topics to get the most out of the experience!

LIvE THEATRE IS AN ACTIvE ExPERIENCE!

EDUCATION PARTNERS

SEASON PARTNER

THE STUDY GUIDE.................................................................... 3 thematic.overview

STRANDS AND CURRICULUM CONNECTIONS .......................................... 3

CURRICULUM EXPECTATIONS ............................................ 4

THE COMPANY .......................................................................... 4.the.cast..creative.team

SYNOPSIS .................................................................................... 4 GLOSSARY ................................................................................... 4

SHAKESPEARE TIMELINE ....................................................... 5

CAST OF CHARACTERS ......................................................... 6

PRE-SHOW QUESTIONS — ALL GRADES ........................ 7

POST-SHOW QUESTIONS — ALL GRADES ..................... 7

UNITS OF STUDY — GRADES 1-3 ................................... 7-8.actions.and.emotions

.charades!.

.culminating.activity

UNITS OF STUDY — GRADES 4-6 ..................................8-11.who.is.shakespeare?.culminating.activity

.who.is.shakespeare?.(image)

REVIEWING A PLAY ................................................................ 12.jon.kaplan’s.introduction.to.student.reviewers

.(adapted.for.grades.1-6)

READING LIST PROVIDED BY THE TORONTO PUBLIC LIBRARY ..................................... 14

SOURCES/BIBLIOGRAPHY ................................................... 15

As You Puppet Study Guide3

A L

STRANDS AND CURRICULUM CONNECTIONS CURRICULUM CONNECTIONS: Language, Literature, Visual Arts

As You Puppet directly relates to student development in the areas of: DRAMA and VISUAL ARTS

CHARACTER EDUCATION CONNECTIONS: Perseverance, Responsibility, Honesty, Respect

THEMES: Trust, Relationships, Classics for young children

THE STUDY GUIDETHEMATIC OvERvIEw

Why do students still study Shakespeare? Why do artists continue to explore Shakespeare’s plays and why are audiences still entertained by them? These are the questions we asked ourselves when approaching this study guide.

The reasons we arrived at are many, varied and still evolving. Shakespeare’s poetic language and forms have inspired other writers to use various structures such as rhyming couplets or sonnets. His poetry and lines are still recited and are often quoted in writings today.

The characters in Shakespeare’s plays are also timeless because they are universal models of human character. We continue to be entertained by Shakespeare’s characters because we can relate to them and their conflicts; the theme of their struggle to defy societal constraints remains current and believable. As we watch or read his plays, we subconsciously root for his characters’ successes and are disappointed by their failures.

In this study guide you will find exercises that encourage students to express and react to emotions as various characters. Students will explore the idea of giving actions and emotions to inanimate objects in order to present stories in an alternative manner. They will also examine the reason for Shakespeare’s infamous status in world of the arts and apply this study to their personal favourite authors. On pages 12 and 13 you will find worksheets to help students think critically about the show. Send one or both of these to LKTYP! We would love to hear the feedback.

As You Puppet has stylistically modified Shakespeare’s As You Like It so that it can be accessible to younger audiences. They will immediately be drawn to the unconventional set and the use of puppets: a bold and creative method of presenting a play that is over 400 years old.

and LANGUAGE ARTS

l-r:.jane.mcclelland,.mike.petersen.|.photo:.jona.stuart


SYNOPSISStuffed animals spring to life in this uproarious version of Shakespeare’s As You Like It by master puppeteers, Jane McClelland and Mike Petersen. When a clever bear named Rosalind is banished by her evil uncle, Frederick the crocodile, she and her best plush kitten friend Celia run away to the forest of Arden. There, they meet a dizzy duck, a haughty hippo, a bragging bunny and the heartsick teddy bear, Orlando, who has fallen head-over-paws for Rosalind. This 2009 Fringe Festival hit is a wonderful way to introduce young people to Shakespeare.

GLOSSARY

the state of being active and the way or manner of moving

to give life to; to make something alive

representation of a personality type or role in a narrative or dramatic work of art

any of the feelings of joy, sorrow, fear, hate, love

a small figure representing a human being or animal by pulling strings attached to its limbs or by putting one’s hand inside it etc.

written or spoken literary work that uses rhythmical composition and rhyme

a pair of lines that rhyme and have the same meter

The words in the Glossary appear in orange throughout the study guide.

Action:

Animate:

Character:

Emotion:

Puppet:

Poetry:

Rhyming Couplets:

CURRICULUM ExPECTATIONSBy participating in the exercises in this study guide, students will:

• extend understanding of oral texts by connecting the ideas in them to their own knowledge and experience.• begin to identify some of the presentation strategies used in oral texts and explain how they influence

the audience.• use familiar words and phrases to convey a clear meaning.• generate, gather and organize ideas and information to write for an intended purpose and audience.• express personal responses and make connections to characters, themes, and issues presented in their own

and others’ drama works.

THE COMPANYTHE CAST CREATIvE TEAM

Performers Creators/Performers/Producers

Director Lighting Designer

Stage Manager

Jane McClellandMike Petersen

Jane McClelland andMike PetersenKen MacDougallMichael Krusewayne Sujo


SHAkESPEARE TIMELINE

1623

The First Folio, a compilation of Shakespeare’s work, is published.

1616

Shakespeare passes away at the age of 52.

1613/14

The Globe burns down and is rebuilt the following year.

1608

The King’s Men leave The Globe and move to Blackfriars Theatre

1603

With the death of Queen Victoria, King James I becomes the patron of the Lord Chamberlain’s Men and they are renamed The King’s Men

1603

The first performance of As You Like It is believed to have occurred.

1599

Shakespeare’s acting company, The Lord Chamberlain’s Men, build The Globe theatre on the south bank of the River Thames.

1597

Shakespeare purchases New Place, the second largest residence in Stratford upon Avon.

1594

The Lord Chamberlain’s Men, an acting company of which Shakespeare is a part, is formed.

1593

Shakespeare writes the first sonnet in what will eventually be a 154 sonnet collection.

1592

Henry VI Part I is produced. There is still debate and discussion over which one of Shakespeare’s plays was produced first but Henry VI Part I is a lead candidate.

Shakespeare leaves for London to start his career in theatre as a performer and playwright.

1585

Shakespeare’s twins, Judith and Hamnet, are born. Judith lives to be 77 while Hamnet passes away at 11 years old.

1582

At the age of 18 Shakespeare marries Anne Hathaway.

1571

Shakespeare begins his formal education.

1564

William Shakespeare is born in Stratford upon Avon to John and Mary Shakespeare.

1583

Shakespeare’s daughter Susanna is born. Susanna lives to be 66 years old.


CAST Of CHARACTERS

CharlesA wrestler in Duke Frederick’s court

AdamOrlando’s faithful and elderly servant

OliverOrlando’s tyrannical eldest brother (the eldest son of Sir Rowland de Boys)

OrlandoOur hero; the youngest son of the late Sir Rowland de Boys

CeliaRosalind’s best friend and cousin Daughter of Duke Frederick, later disguised as “Aliena”

RosalindOur heroine; daughter of the rightful Duke Senior, later disguised as

“Ganymede”

LebeauA courtier in attendance on Duke Frederick

Duke FrederickDuke Senior’s usurping brother and Celia’s father

Duke SeniorThe banished Duke, father of Rosalind, exiled to the forest of Arden by his usuroing brother Frederick

TouchtoneThe clown in Duke Frederick’s court

CorinAn old shepherd

AmiensA nobleman in attendance on Duke Senior

SilviusA young shepherd

JacquesA nobleman in attendance on Duke Senior

HymenThe goddess of marriage

AudreyA country girl

Jack de BoysBrother of Orlando and Oliver

PhebeA shepherdess


UNITS Of STUDY — GRADES 1-3

Choose between the following sections of text (or use both!) and as a class, determine which words are action words and which words describe emotion.

(waving a stick) Forbear, and eat no more!Art thou thus boldened, man, by thy distress?Forbear, I say! He dies that touches any of this fruit till I and my affairs are answered.Sit down and feed, and welcome to our table.Speak you so gently? Pardon me, I pray you. I thought that all things had been savage here. (drops his weapon)Sit you down in gentleness, and take upon command what help we have.But forbear your food a little while. There is an old poor man who after me hath many a weary step, limped in pure love. Till he be first sufficed, I will not touch a bit.Go find him out, and we will noth-ing waste till you return.I thank ye! (Orlando exits.)

ORLANDO

DUKE SENIOR

ORLANDO

DUKE SENIOR

ORLANDO

DUKE SENIOR

ORLANDO

DUKE SENIOR

ORLANDO

Example 1.

ACTIONS AND EMOTIONS

PRE-SHOw qUESTIONS — ALL GRADES

POST-SHOw qUESTIONS — ALL GRADES

• Who is William Shakespeare?• Why do people read and recite poetry?• What is a puppet?• What is the difference between seeing a puppet show and a show with live actors playing the characters?• What other puppet stories do students know?• What role do forests play in stories?

• Refer to the Cast of Characters on page 6. Why did the creators of As You Puppet choose the stuffed animals they did to represent the various characters?

• Why does Shakespeare use disguises in this play?• How are Rosalind, Celia and Orlando’s lives different in the forest? What is good about the forest? What is bad

about the forest?

O my poor Rosalind, I’ll go along with thee.Why, whither shall we go?To seek my uncle in the Forest of Arden.Alas, what danger it will be to us, maids as we are, to travel forth so far! Beauty provoketh thieves sooner than gold.I’ll put myself in poor and mean attire and with a kind of umber smirch my face; the like do you.Were it not better, because I am more than common tall, that I did suit me all points like a man?What shall I call thee when thou art a man?Look you call me Ganymede. But what will you be called?No longer Celia, but Aliena. Now go we in content to liberty, and not to banishment.

CELIA

ROSALINDCELIA

ROSALIND

CELIA

ROSALIND

CELIA

ROSALIND

CELIA

Example 2.


Directions:• Using the template on page 9 create small strips of paper with either action or emotion words written on them.• Play a game of charades with the action/emotion words. Have students choose a word from a hat and act it

out without using words for the class. The class must guess which word is being acted out.

Directions:• Ask students to bring in a stuffed animal of their choice.• Play the charades game again but this time ask students to act out the word using their stuffed animal as

their puppet.

Extension:• Play charades a third time but this time, once students have pulled their word from the hat ask them to

choose the stuffed animal that will be best for performing their action/emotion word.

Debrief:• Discuss with students the difference between action words and emotion words.• Was one kind of word easier to act out over the other? Which one, action or emotion? Why?• Ask students how they approached the acting out of their word? Did you they mostly use facial expression?

Their bodies?• Which stuffed animal did students use to act out their word? Why did they choose that stuffed animal?

CHARADES!

CULMINATING ACTIvITY

Directions:• This is an exercise the whole class can do together.• Ask students to think about what they already know about

Shakespeare and use the template on page 11 to create a character sketch of the playwright.

• Ask students to think about other authors they know of and like. Which one do they think will be studied and read for years to come? Why?

• Have students create a character sketch of their favourite author. Ask them to start filling it in with information they already know about the author.

• Next, have students conduct some research to fill in the missing information.

Extension:• Have students write a short piece about why they think that the

author should be read/studied for hundreds of years to come.

UNITS Of STUDY — GRADES 4-6wHO IS SHAkESPEARE?


Create a chart and divide the words into two sections.

ACTION wORDS EMOTION wORDS


As a warm up to the following exercises, have students complete the charades exercise from the grades 1-3 unit.Have students complete the charades activity from the grades 1-3 unit.

Directions:• Ask students to bring in a stuffed animal of their choice.• Play the charades game again but this time ask students to act out the word using their stuffed animal as

their puppet.

Extension:• Play charades a third time but this time, once students have pulled their word from the hat ask them to

choose the stuffed animal that will be best for performing their action/emotion word.

Debrief:• Discuss with students the difference between action words and emotion words.• Was one kind of word easier to act out over the other? Which one, action or emotion? Why?• Ask students how they approached the acting out of their word? Did you they mostly use facial expression?

Their bodies?• Which stuffed animal did students use to act out their word? Why did they choose that stuffed animal?

Question for class discussion: Can anything be brought to life? How?

Mike Peterson says: “Anything can be a puppet, as long as you know how to give it the illusion of life. You can put a sock on your hand, hold a teddy bear in front of you, you can even use an ordinary tea towel. With the right movements, that sock can speak, that teddy bear can dance, and that tea towel can hear a sound and quiver with fear. It all starts with the puppeteer. The audience will do the rest.”

For more information on puppetry check out an article written by Mike: www.lktyp.ca/media/2010-11/asyoupuppet/article.pdf

Directions:• Have students find a partner again, but this time, ask them to work with the text on page 7 and cast their

two person scene with the objects that they think are most appropriate and perform the scene with the objects.

• Have students reflect on the charades exercise. What were some techniques they used to act out the emotion/action words? What did they do with the stuffed animal to act out the emotion/action words? Can these techniques be applied when animating their object?

CULMINATING ACTIvITY

what is a Puppet?The Oxford Canadian Dictionary defines the word “puppet” as: a small figure representing a human being or animal by pulling strings attached to its limbs or by putting one’s hand inside it etc.


wHO IS SHAkESPEARE? (IMAGE)


JON kAPLAN’S INTRODUCTION TO STUDENT REvIEwERS(ADAPTED fOR GRADES 1-6)

REvIEwING A PLAY

The title of the play was _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

The names of the characters in the play were _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

My favorite character was _ _ _ _ _ _ _ _ _ _ _ _ because she/he_ _ _ _ _ _ _ _ _ _

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

If I were an actor in the play I would play the role of_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

I liked it when_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

My favorite part was_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

I was surprised when_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

If I were the director of this play I would have_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

I think puppets are_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

If I were Rosalind I would have_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

I have felt like Celia when_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _


wRITE US A LETTER!


READING LIST PROvIDED bY THE TORONTO PUbLIC LIbRARY

As You Puppet Stuffed animals spring to life in this uproarious version of Shakespeare’s As You Like It by master puppeteers, Jane McClelland and Mike Peterson.

THEMES:Trust, Relationships, Classics for young children

BOOKS:A Child’s Portrait of Shakespeare by Lois Burdett (Shakespeare)Shakespeare’s Storybook: Folk Tales That Inspired the Bard by Ryan Patrick (Shakespeare)There’s a Boy in the School’s Bathroom by Louis Sachar (Funny, Relationships)The Wind in the Willows illustrated by Michel Plessix (Classics)Frog Face and the Three Boys by Don Trembath (Funny, Relationships, Trust)

l-r:.mike.petersen,.jane.mcclelland.|.photo:.iden.ford.photography


“Classroom resources: Start Shakespeare earlier.” Royal Shakespeare Company. Web. 21 Mar. 2011.

<http://www.rsc.org.uk/education/primary/>.

Cuddington, Richard. “As You Like It (Easy Reading Shakespeare).” Scholastic Education Plus. 29 Feb. 2008.

Web. 21 Mar. 2011. <http://education.scholastic.co.uk/content/2173>.

“Explore Using Puppets”. Wigan Leisure and Culture Trust. Web. 21 Mar. 2011.

<http://www.wlct.org/libraries/sls/puppets.pdf>.

Fitzgerald, Heather, Howell, Tom, and Robert Pontisso, eds. Oxford English Dictionary. 2nd edition. Toronto:

Oxford University Press, 2006.

Kastan, David Scott and Marina, eds. Poetry for Young People: William Shakespeare. USA: Sterling, April 2008. Print.

“Learning: Globe Education Online”. Shakespeare’s Globe. Web. 21 Mar. 2011.

<http://www.globe-education.org/learning>.

Nesbit, Edith. The Children’s Shakespeare: As You Like It, Hamlet, King Lear, a Midsummer Night’s Dream, Pericles,

Romeo & Juliet, and the Winter’s Tale. USA: Audio Literature, July 2002. Audio Cassette.

“Shakespeare’s Works: Timeline.” Shakespeare Resource Center. 6 Feb. 2011. Web. 21 Mar. 2011.

<http://www.bardweb.net/plays/timeline.html>.

“Shakespeare Timeline.” absolute Shakespeare. Web. 21 Mar. 2011.

<http://absoluteshakespeare.com/trivia/timeline/timeline.htm>.

SOURCES/bIbLIOGRAPHY

Arts Impact: Making a difference in the lives of students

LKTYP is proud to have great-west Life, London Life and Canada Life as lead sponsors for its Arts Impact programme, which provides opportunities for schools in low-income areas of Toronto to participate in quality arts education. Arts Impact’s goal is to deepen students’ understanding of theatre, allowing them to be inspired by the material presented on stage and to think in ways that challenge their own perceptions.

Connections: Addressing the pattern of poverty

There is empirical evidence that children who live in poverty are at greater risk of dropping out of school. Studies have also proven that exposure to the arts improves scholastic ability and at-tendance. Thanks to the generosity of CIBC Children’s Foundation, LKTYP can offer special subsidized tickets to qualifying schools.

25 Years

CIBC Children’s Foundation

(formerly Young Peoples Theatre) is the largest Theatre for Young Audences (TYA) company in Canada and a significant institution in the Canadian professional theatre community. Over our 45-year his-tory we have produced many of the most important works that now form the canon of plays for young audiences in this coun-try. At the heart of founder Susan Rubes’

Allen MacInnisartistic.director

LORRAINE kIMSATHEATRE fOR YOUNG PEOPLE165 fRONT STREET EASTTORONTO, ON M5A 3Z4416.862.2222LkTYP.CA

YEARS OfYOUNG PEOPLE’STHEATRE

LORRAINE kIMSA THEATRE fOR YOUNG PEOPLE

EDUCATION &PARTICIPATION DEPARTMENTkAREN GILODOEDUCATIONAL SERvICES COORDINATOR 416.363.5131 x230 [email protected]

idea for Young Peoples Theatre (YPT) was a belief that children deserve a theatre of their own – with resources and standards no lesser than those for adults. She believed – as we do today – that young people deserve good theatre because theatre is good for young people.

Through the communal experience of the theatre we create for them, children can receive indications of what is important, funny, trivial; positive, negative, wrong, right, rightish, wrongish; frighten-ing, reassuring, empowering, unavoidable; familiar, new, eternal … We strongly believe that even through the most playful of plays, we are speaking powerfully to children about the community and the world in which they live.

Therefore, at the centre of the artistic policy of LKTYP is a desire to have a positive and lasting impact on the emotional, social, and intellectual development of young people. We want children

to be imprinted with experiences that will increase their access to the world, in order for them to grow into the unique and wonderful people they were born to be. To do this, our program-ming is drawn from the world classics of children’s stories, from contemporary works, from the new plays we develop, and from productions showcasing the most innovative and accomplished theatre for young audiences by other Canadian and international theatre companies.

At LKTYP, because we are serious about child development through theatre art, children can experience our work as either audience members or theatre creators. We extend the learning opportunities of our professional productions through our sub-stantial Education & Participation Department. The Department’s services for teachers and students helps connect curriculum objectives and learning outcomes to the content of our profes-sional productions; its Community Participation projects link our theatre skill with the educational aspirations of partners who are dedicated to the growth of young people; our interest-based Drama School offers young people the chance to engage deeply in the excitement of theatre art; and our Community Volunteer programme offers everyone who wants it, the opportunity to participate in the mission of LKTYP.

LKTYP is not only a professional theatre for young audiences but a vital community-based centre of arts education.

GOVERNMENT & FOUNDATION PARTNERS

The Ontario Arts Council and the Ontario Trillium Foundation are agencies of the Government of Ontario.

EDUCATION PARTNERSSEASON PARTNER

as you puppet - theatre for young audiences · they affect our sound system. photography, audio and...

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